Sofia Gubaidúlina, a musician between faith and form, dies

BarcelonaSofia Gubaidulina, one of the most influential and renowned composers of contemporary music, died this Thursday in Appen, Germany, at the age of 93. Born on October 24, 1931, in Chistopol (Tatarstan, Russia), Gubaidulina's work is characterized by a profound spirituality, an experimental approach to the use of sound, and innovative timbral exploration that made her a key figure in the musical avant-garde. Her style combines elements of Russian tradition with influences from the Western avant-garde, creating a unique and personal musical language. Her life was not easy, as she was blacklisted beginning in the 1960s for defying the restrictions imposed by the Soviet government, which disapproved of her experimental approach, her use of alternate tunings, and her unsympathetic attitude to the regime. In 1992, she moved to Hamburg, where she continued her creative work until her final days.

One of the most notable aspects of his music is his use of sound symbols and structures that evoke spiritual and philosophical meanings. In many of his compositions, he used extreme contrasts of register, density, and timbre to generate tension and release expressive energy. His interest in religion and mysticism is reflected in works such as Offertorium (1980), a violin concerto inspired by the offering, based on a Bach theme that gradually transforms until it disappears.

Another fundamental work is In cross (1979), originally written for cello and organ, and later adapted for accordion. In this piece, Gubaidúlina represents the cross as a musical symbol through the interaction between the instruments and their registers. Her use of microtonality, unusual scales, and extended effects on traditional instruments demonstrates her search for new expressive dimensions with the group she created, Astreia.

Despite being rejected by the Russian government, she managed to establish herself internationally thanks to the support of figures such as violinist Gidon Kremer, who was one of the first to perform Offertorium and helped him spread his music in the West. His worldwide recognition was consolidated in the 1990s, when renowned musicians began commissioning new compositions. His output covers a wide variety of genres, including symphonic works, chamber music, and works for soloists. His orchestral compositions include The Sunbeam (1997), based on the Canticle of the Sun of Saint Francis of Assisi, and his own Winter Symphony, Faith, Hope, Love (2018), in which he explores the relationship between nature and faith.

One of his most notable technical innovations is his use of "structural glissando," a device in which sounds glide progressively between defined and indefinite tones, generating effects of tension and resolution. He has also worked extensively with the accordion and other unconventional instruments in contemporary music, giving them an unusual prominence. In the 1980s, he also used the Fibonacci sequence to structure the form of his works. The sequence provided him with a basis for composition, allowing the musical form to breathe in works such as Perception, In the beginning of the rhythm, Almost hoketus and the symphony in twelve movements Stimmen... Verstummen.

Throughout her career, Gubaidúlina has been honored with numerous awards, including the Prix de Monaco (1987), the Franco Abbiato (1991), the Heidelberger Künstlerinnenpreis (1991), the Russian State Prize (1992) (998), Denmark's Léonie Sonning Prize (1999), the Polar Music Prize in Sweden (2002), the Grand Cross of Distinguished Service of the Order of Merit of the Federal Republic of Germany (2002), the Vive Composer Award in Cannes (2003), and the 0.2 Foundation Prize.

Sofia Gubaidúlina's impact will transcend technical experimentation because her main objective has been the expression of the transcendental but intimately lived from the human experience. In each of his compositions, he sought to reveal a spiritual dimension through the influence of sound.